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art.summit
Art Summit Magazine.
New York City 🗽
By Carol Real
Editor: Kristen Evangelista
@kristen.e.evangelista
✨ An Interview in Depth ✨
Hao Liang: Painting as a Form of Stillness
🎨 @hao___liang
✍️ By Carol Real
Editor, @kristen.e.evangelista
Hao Liang’s paintings move between precision and atmosphere. Working with ink and mineral pigments on silk, he draws from the language of classical Chinese painting while remaining firmly anchored in the present. His images carry a particular stillness, shaped as much by control as by sensitivity.
In this conversation, Hao Liang reflects on painting as a way of organizing emotion, memory, and attention. Tradition is not treated as something fixed, but as a living structure to absorb, rework, and make his own.
He speaks with clarity about slowness, sorrow, discipline, and the demands of sustained looking. His works resist fixed time and place, unfolding instead as spaces where memory, feeling, and thought remain in balance. What emerges is not escape, but a quiet insistence on staying present through difficulty.
🔵 Read it here:
www.art-summit.com/hao-liang/
Image credits
All artworks © Hao Liang. Courtesy of the artist.
• Portrait of Hao Liang. © Hao Liang
• In Jan van Eyck’s Garden, 2024. Ink and color on silk
• Danh Vo’s Granary, 2024. Ink on silk
• Monstera Deliciosa, 2023. Ink on silk
#HaoLiang #ArtSummit #ArtSummitMagazine #ContemporaryArt #Painting InkPainting StudioPractice ArtInterview
✨ An Interview in Depth ✨
Hao Liang: Painting as a Form of Stillness
🎨 @hao___liang
✍️ By Carol Real
Editor, @kristen.e.evangelista
Hao Liang’s paintings move between precision and atmosphere. Working with ink and mineral pigments on silk, he draws from the language of classical Chinese painting while remaining firmly anchored in the present. His images carry a particular stillness, shaped as much by control as by sensitivity.
In this conversation, Hao Liang reflects on painting as a way of organizing emotion, memory, and attention. Tradition is not treated as something fixed, but as a living structure to absorb, rework, and make his own.
He speaks with clarity about slowness, sorrow, discipline, and the demands of sustained looking. His works resist fixed time and place, unfolding instead as spaces where memory, feeling, and thought remain in balance. What emerges is not escape, but a quiet insistence on staying present through difficulty.
🔵 Read it here:
www.art-summit.com/hao-liang/
Image credits
All artworks © Hao Liang. Courtesy of the artist.
• Portrait of Hao Liang. © Hao Liang
• In Jan van Eyck’s Garden, 2024. Ink and color on silk
• Danh Vo’s Granary, 2024. Ink on silk
• Monstera Deliciosa, 2023. Ink on silk
#HaoLiang #ArtSummit #ArtSummitMagazine #ContemporaryArt #Painting InkPainting StudioPractice ArtInterview
✨ An Interview in Depth ✨
Hao Liang: Painting as a Form of Stillness
🎨 @hao___liang
✍️ By Carol Real
Editor, @kristen.e.evangelista
Hao Liang’s paintings move between precision and atmosphere. Working with ink and mineral pigments on silk, he draws from the language of classical Chinese painting while remaining firmly anchored in the present. His images carry a particular stillness, shaped as much by control as by sensitivity.
In this conversation, Hao Liang reflects on painting as a way of organizing emotion, memory, and attention. Tradition is not treated as something fixed, but as a living structure to absorb, rework, and make his own.
He speaks with clarity about slowness, sorrow, discipline, and the demands of sustained looking. His works resist fixed time and place, unfolding instead as spaces where memory, feeling, and thought remain in balance. What emerges is not escape, but a quiet insistence on staying present through difficulty.
🔵 Read it here:
www.art-summit.com/hao-liang/
Image credits
All artworks © Hao Liang. Courtesy of the artist.
• Portrait of Hao Liang. © Hao Liang
• In Jan van Eyck’s Garden, 2024. Ink and color on silk
• Danh Vo’s Granary, 2024. Ink on silk
• Monstera Deliciosa, 2023. Ink on silk
#HaoLiang #ArtSummit #ArtSummitMagazine #ContemporaryArt #Painting InkPainting StudioPractice ArtInterview
✨ An Interview in Depth ✨
Hao Liang: Painting as a Form of Stillness
🎨 @hao___liang
✍️ By Carol Real
Editor, @kristen.e.evangelista
Hao Liang’s paintings move between precision and atmosphere. Working with ink and mineral pigments on silk, he draws from the language of classical Chinese painting while remaining firmly anchored in the present. His images carry a particular stillness, shaped as much by control as by sensitivity.
In this conversation, Hao Liang reflects on painting as a way of organizing emotion, memory, and attention. Tradition is not treated as something fixed, but as a living structure to absorb, rework, and make his own.
He speaks with clarity about slowness, sorrow, discipline, and the demands of sustained looking. His works resist fixed time and place, unfolding instead as spaces where memory, feeling, and thought remain in balance. What emerges is not escape, but a quiet insistence on staying present through difficulty.
🔵 Read it here:
www.art-summit.com/hao-liang/
Image credits
All artworks © Hao Liang. Courtesy of the artist.
• Portrait of Hao Liang. © Hao Liang
• In Jan van Eyck’s Garden, 2024. Ink and color on silk
• Danh Vo’s Granary, 2024. Ink on silk
• Monstera Deliciosa, 2023. Ink on silk
#HaoLiang #ArtSummit #ArtSummitMagazine #ContemporaryArt #Painting InkPainting StudioPractice ArtInterview
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Hu Jun Jun & Zhang Huan: In the Desert, Time Listens
🎨 @zhanghuanstudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Dunhuang is not a neutral landscape. It is a site where trade, faith, and power have converged for centuries. At the edge of the Gobi Desert, along the Silk Road, history is not represented, it is embedded in the land itself.
Within this context, Hu Jun Jun and Zhang Huan realized Explore Silence, a permanent land art installation composed of more than three thousand tons of granite transported across more than two thousand kilometers. Conceived by Hu Jun Jun as the principal creator, in collaboration with Zhang Huan, the work does not attempt to depict history. It confronts it through matter.
The installation rejects image and narrative. There are no figures, no symbols. The stones follow a logic close to natural sedimentation, aligning the work with processes that precede culture and representation. What emerges is not an image, but a condition.
In this conversation, Zhang Huan reflects on the shift from body to matter, from gesture to duration, and from individual experience to geological time. Silence appears not as absence, but as pressure, as density, as a space where awareness can emerge.
🔵 Read it here:
www.art-summit.com/zhang-huan
Image credits
Explore Silence, 2025–2026
Artwork by Hu Jun Jun & Zhang Huan
3000+ tons of Taihang Goldgranite
Yangguan Erdun, Dunhuang
Images courtesy of Hu Jun Jun Studio & Zhang Huan Studio
© Hu Jun Jun Studio & Zhang Huan Studio
#ZhangHuan #HuJunjun #ArtSummit #ArtSummitMagazine #ContemporaryArt
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
Yue Minjun: Authority, Interruption, and the Refusal of Resolution
🎨@yueminjun001
✍️ By Carol Real
Editor, @kristen.e.evangelista
Yue Minjun’s recent paintings mark a decisive shift within a practice long associated with repetition, recognition, and the iconic laughing face. In this new body of work, presented at Tang Contemporary Art Basel Hong Kong, the image is fractured, obscured, stacked, interrupted, or replaced altogether.
Flowers, smoke, and painterly gestures intervene where expression once dominated. Control and sabotage coexist. Authority is asserted and undone at the same time. Rather than performing, the image is subjected to pressure, damage, and ambiguity.
In this conversation, Yue Minjun reflects on power, interruption, repetition, and the necessity of disintegration as a way to access a deeper internal logic within his practice. What emerges is not resolution, but endurance.
🔵 Read it here:
www.art-summit.com/yue-minjun
Image credits
All artworks © Yue Minjun. Courtesy of the artist and Yue Minjun Studio.
Artwork photographs: Yang Xin, 2020–2026.
Portrait of Yue Minjun. Photograph by Charles Guo Puyuan, 2012.
#YueMinjun #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview BaselHongKong
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
✨ An Interview in Depth ✨
William Kentridge, Images That Refuse to Conclude
✍️ By Carol Real
Editor, @kristen.e.evangelista
@williamkentridgestudio
Ph by Yaël Temminck
William Kentridge does not use images to explain the world. He builds situations where thinking becomes visible. Drawing, film, theatre, sculpture, and shadow operate as interconnected conditions through which time, material, and uncertainty are tested.
In this conversation, Kentridge reflects on the studio as a physical site of friction, on erasure as a form of writing, on repetition as a method of thought, and on meaning as something that emerges through process rather than declaration. Politics and history appear as traces. Narrative remains partial. The viewer is invited to assemble fragments and remain inside uncertainty.
What emerges is not a theory of art, but a commitment to making as a way of thinking, and to doubt as a necessary condition of meaning.
🔵 Read it here:
www.art-summit.com/williamkentridge
Image credits
All images courtesy of the artist. © William Kentridge
#WilliamKentridge #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
THIS SUNDAY
✨ An Interview in Depth ✨
Roe Ethridge, The Image Misbehaves
📷 @roeethridge ethridge
✍️ By Carol Real
Editor @kristen.e.evangelista
Roe Ethridge works in the unstable space where images shift meaning through context, sequence, and proximity to other pictures. Commercial commissions, personal photographs, art history, and fragments of visual culture coexist in a practice that treats photography as a field of relations rather than isolated works. His images balance polish and awkwardness, seduction and friction, surface and tension.
Rude in the Good Way, published on the occasion of his exhibition with Gagosian in Athens, brings this approach into a more intimate register. Desire, memory, authorship, and collaboration become more visible, particularly through his ongoing work with Lulu Sylbert. Glamour, private life, advertising language, and art historical echoes occupy the same space without resolution. Ethridge allows these contradictions to remain active, letting friction produce meaning.
In this conversation, Ethridge reflects on sequencing, the archive, unstable beauty, and the porous boundary between commissioned and personal work. Photography emerges as something that resists fixed interpretation and continues to shift through circulation, context, and the viewer’s encounter with the image.
🔵 Read it here: www.art-summit.com/roeethridge
Image credits
All images courtesy of the artist and Gagosian, except book images.
Book images © Roe Ethridge 2026, courtesy Loose Joints.
• Portrait of Roe Ethridge, 2026. © Roe Ethridge
• Lulu in Green Lace and Fishnets, 2025. UV cured pigment print
• Chanel No 5 from 1924 on Tray of Pearls and Mirror Checkerboard, 2025
• Rude in a Good Way, installation view. Photograph by Stathis Mamalakis. Courtesy of the artist and Gagosian.
• LU Cookie Half Melted, 2025
• John Currin’s Studio March 2, 2008, 2008 25
• Silver Spoon with Apples, 2025. UV cured pigment print. 30 x 24 inches. Framed 30 15 16 x 24 15 16 x 1 1 2 inches.
• Rude in the Good Way by Roe Ethridge is published by Loose Joints. www.loosejoints.biz
• Rude in the Good Way by Roe Ethridge is published by @jointsloose www.loosejoints.biz
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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.
#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
✨ An Interview in Depth ✨
Sean Scully on Collapse, Repair and the Shape of Now
🎨 @seanscullystudio
✍️ By Carol Real
Editor, @kristen.e.evangelista
Courtesy, @lisson_gallery
Sean Scully’s new interview looks at collapse, memory, rebuilding and the tensions that define the present. Across the Tower paintings, he brings together fragments of landscape, the weight of industrial work, echoes of Cubism and the imprint of the World Trade Center. The conversation offers a clear view of how he thinks through vulnerability, power and repair, and how these ideas become structure, color and gesture.
Scully speaks about humor, history and the way different visual languages coexist inside one work. The interview follows his process from the first iPhone drawings to the construction and dismantling of each piece. It shows how his practice holds both solidity and restlessness and reveals an artist who continues to question form, memory and the shape of now.
With gratitude to @fleming.faye
🔵 Read it here: art-summit.com/sean-scully
Image credits
All images courtesy of the artist and Lisson Gallery.
• Portrait of Sean Scully, London 2024. Photo: Oliver Mark
• Tower installation view
• iPhone drawing: Tower + Inset, 2025. Archival pigment print on paper, 28 x 22 in., Ed. of 40 + 7 AP. © Sean Scully. Photo: courtesy the artist
• Red Tower, 2025. Oil and spray paint on aluminum and wood with felt, 128 x 91.5 in. (298.5 x 220.3 cm)
• Red Tower, 2025, detail
• Sean Scully in 1958
• Sean Scully at age eight playing in the garden at 58 Tannsfeld Garden in 1953
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#SeanScully #ArtSummit #ArtSummitMagazine #ContemporaryArt #TowerPaintings #AbstractPainting #PaintingToday #StudioPractice #ArtInterview #NYCArtScene #LissonGallery #ArtPublishing #NewInterview
An Interview in Depth
✨ Jennifer Guidi: Between Earth and Light ✨
@jenguidi
By Carol Real
Editor: @kristen.e.evangelista
Ph: Brooklin A. Soumahoro, Brica Wilcox
Courtesy: @davidkordanskygallery
Late afternoon light in Los Angeles feels like gold suspended in the air. In Jennifer Guidi’s new landscapes, that light becomes a force. The works that form California Dreaming open into horizons that vibrate with color and sand. Mountains rise. Oceans shimmer. Earth and sky meet in a kind of quiet radiance.
🌴California Dreaming opens on Friday, November 7th, from 6–8 PM at @davidkordanskygallery in Los Angeles.
For Guidi, sand is both material and meaning. It carries the memory of the ground beneath us, while light pulls everything upward. The paintings invite a slower way of seeing, guided by intuition and the steady rhythm of thousands of hand-painted marks.
This return to landscape is also a return to origin. Guidi reflects on the desert of her childhood, the feeling of vastness, and the spiritual shift that happens when nature takes over our full attention. The result is a body of work that feels expansive and grounded at once.
Photo 1
Portrait of Jennifer Guidi. Photo: Brooklin A. Soumahoro @bk_a_soumahoro , courtesy of the artist and David Kordansky Gallery.
Photo 2
Dear moon, guardian of the night, you fill my heart with hope and delight, this lunar exchange where energies meet, at the eightfold horizon, on the path which I seek, 2025; oil and sand on linen; 48 x 70 in. Photo: Brica Wilcox, courtesy of the artist and David Kordansky Gallery.
Photo 3
Standing on the threshold of the known and unknown, wrapped in your warmth, shimmering in your shine, dissolving into your heart, dipping into your soul, 2025; oil and sand on linen; 34 x 50 in. Photo: Brica Wilcox, courtesy of the artist and David Kordansky Gallery.
Read it here: art-summit.com/jennifer-guidi
© Jennifer Guidi. Images courtesy of the artist and David Kordansky Gallery.
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#JenniferGuidi #ArtSummit #ArtSummitMagazine #ContemporaryArt #CaliforniaDreaming #PaintingToday #ColorAndLight #LandscapeArt #StudioPractice #LAArtScene #ArtInterview #SandAndLight #ArtPublishing #ArtCollectors #Dav
An Interview in Depth
✨ Jennifer Guidi: Between Earth and Light ✨
@jenguidi
By Carol Real
Editor: @kristen.e.evangelista
Ph: Brooklin A. Soumahoro, Brica Wilcox
Courtesy: @davidkordanskygallery
Late afternoon light in Los Angeles feels like gold suspended in the air. In Jennifer Guidi’s new landscapes, that light becomes a force. The works that form California Dreaming open into horizons that vibrate with color and sand. Mountains rise. Oceans shimmer. Earth and sky meet in a kind of quiet radiance.
🌴California Dreaming opens on Friday, November 7th, from 6–8 PM at @davidkordanskygallery in Los Angeles.
For Guidi, sand is both material and meaning. It carries the memory of the ground beneath us, while light pulls everything upward. The paintings invite a slower way of seeing, guided by intuition and the steady rhythm of thousands of hand-painted marks.
This return to landscape is also a return to origin. Guidi reflects on the desert of her childhood, the feeling of vastness, and the spiritual shift that happens when nature takes over our full attention. The result is a body of work that feels expansive and grounded at once.
Photo 1
Portrait of Jennifer Guidi. Photo: Brooklin A. Soumahoro @bk_a_soumahoro , courtesy of the artist and David Kordansky Gallery.
Photo 2
Dear moon, guardian of the night, you fill my heart with hope and delight, this lunar exchange where energies meet, at the eightfold horizon, on the path which I seek, 2025; oil and sand on linen; 48 x 70 in. Photo: Brica Wilcox, courtesy of the artist and David Kordansky Gallery.
Photo 3
Standing on the threshold of the known and unknown, wrapped in your warmth, shimmering in your shine, dissolving into your heart, dipping into your soul, 2025; oil and sand on linen; 34 x 50 in. Photo: Brica Wilcox, courtesy of the artist and David Kordansky Gallery.
Read it here: art-summit.com/jennifer-guidi
© Jennifer Guidi. Images courtesy of the artist and David Kordansky Gallery.
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#JenniferGuidi #ArtSummit #ArtSummitMagazine #ContemporaryArt #CaliforniaDreaming #PaintingToday #ColorAndLight #LandscapeArt #StudioPractice #LAArtScene #ArtInterview #SandAndLight #ArtPublishing #ArtCollectors #Dav
An Interview in Depth
✨ Jennifer Guidi: Between Earth and Light ✨
@jenguidi
By Carol Real
Editor: @kristen.e.evangelista
Ph: Brooklin A. Soumahoro, Brica Wilcox
Courtesy: @davidkordanskygallery
Late afternoon light in Los Angeles feels like gold suspended in the air. In Jennifer Guidi’s new landscapes, that light becomes a force. The works that form California Dreaming open into horizons that vibrate with color and sand. Mountains rise. Oceans shimmer. Earth and sky meet in a kind of quiet radiance.
🌴California Dreaming opens on Friday, November 7th, from 6–8 PM at @davidkordanskygallery in Los Angeles.
For Guidi, sand is both material and meaning. It carries the memory of the ground beneath us, while light pulls everything upward. The paintings invite a slower way of seeing, guided by intuition and the steady rhythm of thousands of hand-painted marks.
This return to landscape is also a return to origin. Guidi reflects on the desert of her childhood, the feeling of vastness, and the spiritual shift that happens when nature takes over our full attention. The result is a body of work that feels expansive and grounded at once.
Photo 1
Portrait of Jennifer Guidi. Photo: Brooklin A. Soumahoro @bk_a_soumahoro , courtesy of the artist and David Kordansky Gallery.
Photo 2
Dear moon, guardian of the night, you fill my heart with hope and delight, this lunar exchange where energies meet, at the eightfold horizon, on the path which I seek, 2025; oil and sand on linen; 48 x 70 in. Photo: Brica Wilcox, courtesy of the artist and David Kordansky Gallery.
Photo 3
Standing on the threshold of the known and unknown, wrapped in your warmth, shimmering in your shine, dissolving into your heart, dipping into your soul, 2025; oil and sand on linen; 34 x 50 in. Photo: Brica Wilcox, courtesy of the artist and David Kordansky Gallery.
Read it here: art-summit.com/jennifer-guidi
© Jennifer Guidi. Images courtesy of the artist and David Kordansky Gallery.
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#JenniferGuidi #ArtSummit #ArtSummitMagazine #ContemporaryArt #CaliforniaDreaming #PaintingToday #ColorAndLight #LandscapeArt #StudioPractice #LAArtScene #ArtInterview #SandAndLight #ArtPublishing #ArtCollectors #Dav
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ An Interview in Depth ✨
Y.Z. Kami: The Face, the Infinite, and the Light Within
🎨 @yzkamistudio
✍️ By Carol Real
Editor: @kristen.e.evangelista
Courtesy: @gagosian
Ph: Cesar Chavez Lechowick, Owen Conway, Rob McKeever
In Y.Z. Kami’s work, the human face becomes a landscape of silence. His portraits, whether with eyes open or closed, seem to exist between the visible and the invisible, inviting the viewer into stillness rather than observation.
From the monumental Domes and Endless Prayers to the meditative Night Paintings, Kami’s practice moves between matter and light, intimacy and transcendence.
He reflects on geometry as a path toward infinity, repetition as a form of prayer, and the way painting transforms the act of seeing into spiritual inquiry.
Born in Tehran and educated in Paris, Kami bridges Persian mysticism and Western thought to create what he calls a “visual theology,” where poetry, philosophy, and faith coexist in quiet radiance.
🟣 Read the full conversation: art-summit.com/y-z-kami
© Y.Z. Kami. Images courtesy of the artist and @gagosian.
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#YZKami #YzkamiStudio #ArtSummit #ArtSummitMagazine #ContemporaryArt #ArtInterview #Painting #SpiritualArt #Gagosian #ArtPhilosophy #Portraiture #ModernArt #ArtWorld #ArtPublishing #NewInterview #ArtCollector #StudioPractice #NYCArtScene
✨ Collecting with Resonance ✨
Everette Taylor: On Living with Art @everette
✍️ By Carol Real
Editor: @kristen.e.evangelista
📸 Ph: Kolin Mendez
Courtesy: @artnoir
Everette Taylor is known as the CEO of Kickstarter and a board member at 1stDibs, but he is also deeply committed to art. In this interview, he shares how his collection began with John Hen’s Red Whisper and why he refuses to store works away—every piece lives with him as part of his daily life.
The conversation touches on:
• building honest relationships with artists and gallerists
• the risks of speculation in the art market
• the role of digital platforms in broadening access
• and his vision of opening a public space in his hometown of Richmond, Virginia
🟣 Read it here: https://www.art-summit.com/everettetaylor
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Image 1: Everette Taylor sitting at the table, with works left to right by Lina Iris Viktor, Amoako Boafo, Deborah Roberts, and Rikkí Wright. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 2: Everette Taylor in the hallway, with works left to right by Sam Gilliam, Alteronce Gumby, and Cyle Warner. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 3: Everette Taylor speaking, with work by Wallen Mapondera. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 4: Jack Whitten. Photo: John Berens. Courtesy of the Jack Whitten Estate and Hauser & Wirth.
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#EveretteTaylor #ArtSummit #CollectingWithResonance #LivingWithArt #ArtCollectors #ArtInterview #ContemporaryArt #Artsy #1stdibs #Kickstarter #ArtWorld #RichmondArtScene #ARTNOIR #hauserwirth
✨ Collecting with Resonance ✨
Everette Taylor: On Living with Art @everette
✍️ By Carol Real
Editor: @kristen.e.evangelista
📸 Ph: Kolin Mendez
Courtesy: @artnoir
Everette Taylor is known as the CEO of Kickstarter and a board member at 1stDibs, but he is also deeply committed to art. In this interview, he shares how his collection began with John Hen’s Red Whisper and why he refuses to store works away—every piece lives with him as part of his daily life.
The conversation touches on:
• building honest relationships with artists and gallerists
• the risks of speculation in the art market
• the role of digital platforms in broadening access
• and his vision of opening a public space in his hometown of Richmond, Virginia
🟣 Read it here: https://www.art-summit.com/everettetaylor
—
Image 1: Everette Taylor sitting at the table, with works left to right by Lina Iris Viktor, Amoako Boafo, Deborah Roberts, and Rikkí Wright. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 2: Everette Taylor in the hallway, with works left to right by Sam Gilliam, Alteronce Gumby, and Cyle Warner. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 3: Everette Taylor speaking, with work by Wallen Mapondera. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 4: Jack Whitten. Photo: John Berens. Courtesy of the Jack Whitten Estate and Hauser & Wirth.
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#EveretteTaylor #ArtSummit #CollectingWithResonance #LivingWithArt #ArtCollectors #ArtInterview #ContemporaryArt #Artsy #1stdibs #Kickstarter #ArtWorld #RichmondArtScene #ARTNOIR #hauserwirth
✨ Collecting with Resonance ✨
Everette Taylor: On Living with Art @everette
✍️ By Carol Real
Editor: @kristen.e.evangelista
📸 Ph: Kolin Mendez
Courtesy: @artnoir
Everette Taylor is known as the CEO of Kickstarter and a board member at 1stDibs, but he is also deeply committed to art. In this interview, he shares how his collection began with John Hen’s Red Whisper and why he refuses to store works away—every piece lives with him as part of his daily life.
The conversation touches on:
• building honest relationships with artists and gallerists
• the risks of speculation in the art market
• the role of digital platforms in broadening access
• and his vision of opening a public space in his hometown of Richmond, Virginia
🟣 Read it here: https://www.art-summit.com/everettetaylor
—
Image 1: Everette Taylor sitting at the table, with works left to right by Lina Iris Viktor, Amoako Boafo, Deborah Roberts, and Rikkí Wright. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 2: Everette Taylor in the hallway, with works left to right by Sam Gilliam, Alteronce Gumby, and Cyle Warner. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 3: Everette Taylor speaking, with work by Wallen Mapondera. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 4: Jack Whitten. Photo: John Berens. Courtesy of the Jack Whitten Estate and Hauser & Wirth.
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#EveretteTaylor #ArtSummit #CollectingWithResonance #LivingWithArt #ArtCollectors #ArtInterview #ContemporaryArt #Artsy #1stdibs #Kickstarter #ArtWorld #RichmondArtScene #ARTNOIR #hauserwirth
✨ Collecting with Resonance ✨
Everette Taylor: On Living with Art @everette
✍️ By Carol Real
Editor: @kristen.e.evangelista
📸 Ph: Kolin Mendez
Courtesy: @artnoir
Everette Taylor is known as the CEO of Kickstarter and a board member at 1stDibs, but he is also deeply committed to art. In this interview, he shares how his collection began with John Hen’s Red Whisper and why he refuses to store works away—every piece lives with him as part of his daily life.
The conversation touches on:
• building honest relationships with artists and gallerists
• the risks of speculation in the art market
• the role of digital platforms in broadening access
• and his vision of opening a public space in his hometown of Richmond, Virginia
🟣 Read it here: https://www.art-summit.com/everettetaylor
—
Image 1: Everette Taylor sitting at the table, with works left to right by Lina Iris Viktor, Amoako Boafo, Deborah Roberts, and Rikkí Wright. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 2: Everette Taylor in the hallway, with works left to right by Sam Gilliam, Alteronce Gumby, and Cyle Warner. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 3: Everette Taylor speaking, with work by Wallen Mapondera. Photo: Kolin Mendez. Courtesy of ARTNOIR.
Image 4: Jack Whitten. Photo: John Berens. Courtesy of the Jack Whitten Estate and Hauser & Wirth.
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#EveretteTaylor #ArtSummit #CollectingWithResonance #LivingWithArt #ArtCollectors #ArtInterview #ContemporaryArt #Artsy #1stdibs #Kickstarter #ArtWorld #RichmondArtScene #ARTNOIR #hauserwirth
New York 2020: The culmination of Robert A.M. Stern’s (@ramsarchitects) monumental history of architecture in the city.
This much-anticipated sixth and final volume in the encyclopedic series is a comprehensive record of building in New York City during the last 25 years.
Spotlighting over 2,000 new buildings, the book captures a period of unprecedented architectural growth, with innovative developments across all five boroughs and a new skyline populated with ‘supertalls’ not only scraping the sky but seeming to pierce it.
Now available for pre-order on Phaidon.com. Signed copies available while supplies last.
#NewYork2020 @ramsarchitects
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Image 1: Midtown, view to the south. Photo by Lester Ali.
Image 2: Midtown. Photo source: RAMSA.
Image 3: Brooklyn. Brooklyn Tower, 9 DeKalb Avenue, between Flatbush Avenue Extension and Fleet Street. SHoP Architects, 2024. Photo by Max Touhey / SHoP.
Image 4: Midtown. Moynihan Train Hall, Skidmore, Owings & Merrill, 2021. Photo source: SOM.
New York 2020: The culmination of Robert A.M. Stern’s (@ramsarchitects) monumental history of architecture in the city.
This much-anticipated sixth and final volume in the encyclopedic series is a comprehensive record of building in New York City during the last 25 years.
Spotlighting over 2,000 new buildings, the book captures a period of unprecedented architectural growth, with innovative developments across all five boroughs and a new skyline populated with ‘supertalls’ not only scraping the sky but seeming to pierce it.
Now available for pre-order on Phaidon.com. Signed copies available while supplies last.
#NewYork2020 @ramsarchitects
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Image 1: Midtown, view to the south. Photo by Lester Ali.
Image 2: Midtown. Photo source: RAMSA.
Image 3: Brooklyn. Brooklyn Tower, 9 DeKalb Avenue, between Flatbush Avenue Extension and Fleet Street. SHoP Architects, 2024. Photo by Max Touhey / SHoP.
Image 4: Midtown. Moynihan Train Hall, Skidmore, Owings & Merrill, 2021. Photo source: SOM.
New York 2020: The culmination of Robert A.M. Stern’s (@ramsarchitects) monumental history of architecture in the city.
This much-anticipated sixth and final volume in the encyclopedic series is a comprehensive record of building in New York City during the last 25 years.
Spotlighting over 2,000 new buildings, the book captures a period of unprecedented architectural growth, with innovative developments across all five boroughs and a new skyline populated with ‘supertalls’ not only scraping the sky but seeming to pierce it.
Now available for pre-order on Phaidon.com. Signed copies available while supplies last.
#NewYork2020 @ramsarchitects
__
Image 1: Midtown, view to the south. Photo by Lester Ali.
Image 2: Midtown. Photo source: RAMSA.
Image 3: Brooklyn. Brooklyn Tower, 9 DeKalb Avenue, between Flatbush Avenue Extension and Fleet Street. SHoP Architects, 2024. Photo by Max Touhey / SHoP.
Image 4: Midtown. Moynihan Train Hall, Skidmore, Owings & Merrill, 2021. Photo source: SOM.
New York 2020: The culmination of Robert A.M. Stern’s (@ramsarchitects) monumental history of architecture in the city.
This much-anticipated sixth and final volume in the encyclopedic series is a comprehensive record of building in New York City during the last 25 years.
Spotlighting over 2,000 new buildings, the book captures a period of unprecedented architectural growth, with innovative developments across all five boroughs and a new skyline populated with ‘supertalls’ not only scraping the sky but seeming to pierce it.
Now available for pre-order on Phaidon.com. Signed copies available while supplies last.
#NewYork2020 @ramsarchitects
__
Image 1: Midtown, view to the south. Photo by Lester Ali.
Image 2: Midtown. Photo source: RAMSA.
Image 3: Brooklyn. Brooklyn Tower, 9 DeKalb Avenue, between Flatbush Avenue Extension and Fleet Street. SHoP Architects, 2024. Photo by Max Touhey / SHoP.
Image 4: Midtown. Moynihan Train Hall, Skidmore, Owings & Merrill, 2021. Photo source: SOM.
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
✨ An Interview in Depth ✨
Rick Lowe: Social Sculpture and the Space Between Us
🎨 @rickloweofficial
✍️ By Carol Real
Ph: Nate Palmer
Courtesy @gagosian
Editor: @kristen.e.evangelista
For over three decades, Rick Lowe has reshaped what it means to be an artist, weaving art into the lives, struggles, and dreams of communities. From founding Project Row Houses in Houston to creating abstract paintings that carry the traces of memory, geography, and displacement, his work dissolves the lines between artist and citizen, object and action, representation and repair.
In this conversation, Lowe reflects on unexpected turns, the influence of Joseph Beuys’ concept of social sculpture, and the quiet ethics of care that guide his vision. What emerges is not a formula but a way of being, porous, attentive, and unafraid to walk the long road to understanding what lies beneath our feet.
🟣 Read it here: https://www.art-summit.com/ricklowe
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#RickLowe #ArtSummit #ContemporaryArt #ArtInterview #SocialSculpture #CommunityArt #ProjectRowHouses #PaintingToday #AbstractPainting #ArtAndCommunity #ArtPhilosophy #ArtWorld #ArtPublishing #NewInterview #ArtMagazine #HoustonArtScene #Gagosian
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.